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VCNO is a noise oscillator, capable of producing full spectrum white noise. But that’s where its similarity to other noise generators stops. VCNO can be used like a VCO – you can modulate the pitch over CV and use its multiple outputs simultaneously, each with a distinct sonic character. Its method of generating noise is similar to that used in early computer sound chips, except it has been implemented here using discrete logic, without the use of software or microcontrollers.
FEATURES
Discrete Noise Algorithm
LFSR (Linear Feedback Shift Register) algorithm implemented using discrete analog parts and logic ICs – no software or microcontrollers
PITCH generator capable of frequencies up to half a megahertz. This results in a spectrum of noise which reaches far beyond that of human-hearing
NOISE is the main LFSR output. With the pitch knob turned fully clockwise this will output pure white noise. As you turn the pitch down, the noise evolves into crunchy noise, reminiscent of vintage video game sounds
GATE is a DC-coupled output. This is perfect for supplying random triggers in your system

The Mutant Rimshot is an analog rimshot and clave percussion synthesis module inspired by analog drum machines of the past. Like the other Mutant Drums, the Rimshot is capable of going above and beyond vanilla sounds. Expressive CV options, an external input and a multi-mode analog filter let you create unique percussion sounds in your modular synthesizer.
Rimshot or clave – take your pick.
Triple-oscillator analog rimshot core inspired by the legendary 909
Three modes of percussion synthesis: rimshot HI (classic), rimshot LO and clave (CLV)
Voltage control of one of the oscillators’ pitch
External input to the filter lets you blend in other signal sources – wavetables and noise make for interesting percussion!
Rimshot DRIVE control acts as a volume and overdrive control for the rimshot generator

The Red Dragon is a 24dB/oct 4-pole low-pass filter realised with a unique Soviet-era filter core. The curious filter structure of the Red Dragon favours character over precision; sure to impart colourful tone in your source material.
During the 1980's, a Russian electronics designer realised that one could build a musical filter using a fairly unconventional method. Unlike most other filter topologies, this method did not use capacitors to employ an RC time constant in its core filter stages. Instead, the internal properties of a programmable amplifier chip are modulated by a special “programming” input found on these devices. One of the modified properties is bandwidth of the amplifier. Changing this particular attribute over time effectively limits the frequencies that can pass through the amplifier, resulting in filtering! Because attributes other than bandwidth are also changing at the same time, this filter stage has instabilities at certain frequencies along the audible spectrum, resulting in colourful distortions and a character all of its own. The resonance's character is especially profound, resulting in bubbly and sometimes screeching sci-fi tones. The Red Dragon achieves a 24dB/oct resonant low-pass response by cascading four of these stages. What's more, you can morph between the two pole extremes (6dB and 24dB) to change the slope of the filter on the fly, either manually or through voltage control.

Not just another clone or continuation of the 808-esque, acid-style kicks of the Mutant Bassdrum – the Mutant BD9 seeks to explore uncharted bassdrum territory by having an integrated sub-oscillator for maximal auditory obliteration.

Parametric bassdrum synthesis offers creative control of the core sound
The primary analog VCO offers classic 909-esque sinusoidal bassdrums, but can also be switched to generate a square wave bassdrum

The PITCH of the VCO spans several octaves, from about 30Hz to 240Hz, and can be modulated with voltage control

A novel PITCH DECAY circuit allows you to adjust the duration and AMOUNT of the pitch-modulation envelope applied to the bassdrum, from short blips to exaggerated tom-like sweeps
The AMPLITUDE DECAY allows adjustment of the length of the bassdrum, from short punchy kicks to massive booms. This parameter is voltage-controlled with a snappy CV response time, allowing you to modulate the duration of your kicks per step.
The CLICK generator is responsible for the attack intensity of the BD9. A fair amount of circuitry goes into creating this subtle punch at the beginning of the kick. The level of this effect is adjustable up to a fairly dramatic extremity.
The overall timbre of the BD9 varies with the DRIVE control from warm, analog bassdrums at low settings to speaker-shattering overdriven sounds at high settings. Output levels are modular-level signals, unlike many classic line-level percussive devices.

Jupiter Storm is a cosmic noise oscillator. It creates sounds that can only be described as out of this world! Where it differs entirely from other pure white noise generators (such as vcNOIZ) is in the algorithm used to produce the sound. Jupiter Storm has a tonal character very much of its own.

Jupiter Storm generates its sound from three square wave oscillators, interacting with one another in a unique algorithm. Some of the sounds possible are reminiscent of the sound of an AM radio being blasted with noise from the cosmos.. This creates noise with significant harmonic content and unique timbres!

With the Noise Core Disruptor engaged, part of the noise core is creatively abused in order to generate insane sonic textures.

Voltage control inputs for all three square waves which energize the noise core are available as well as a CV input that addresses all three oscillators at once. In this way, very dynamic sounds can be achieved with complex modulation routing. For example, you can apply a taste of LFO modulation to all three oscillators, while modulating a select oscillator simultaneously on its own with something more drastic.

Galilean Moons is a dual amplitude transmutator. It transmutates the amplitude of incoming signals through the use of voltage controlled envelopes and VCAs. It is designed primarily to create voltage controlled percussive sounds when fed with a sound source (in particular, its sister module, Jupiter Storm), but can be used for all sorts of other tasks in your modular system as well as to generate typical synth sounds.

Galilean moons features two “Moons”. Each Moon is composed of a voltage controlled attack/decay envelope with its own dedicated low-distortion linear VCA. Each envelope can also act as attack/sustain/release or can go into LFO/automatic looping mode with the flick of a switch.

Galilean Moons will normalise its VCA inputs to a Jupiter Storm cosmic noise oscillator through a simple expansion cable at the back, but it can also function standalone in any modular system. Of course, the new Jupiter Storm noise output, “XOR”, which is activated by connecting a Galilean Moons to your Jupiter Storm, will not function without a Jupiter Storm. This is the only feature which requires a Jupiter Storm to be connected.

The XOR noise output sounds similar to (but not exactly like) Jupiter Storm with the Noise Core Disruptor is engaged. This allows you to get more flavours of noise from Jupiter Storm, expanding its versatility.

The VCAs and voltage controlled envelopes can each be used on their own in your system when you don’t want to use them the way they are internally linked together. Plugging a signal into any of the respective jacks will break the internal connections and let you use the components on their own. You can use the linear, DC-coupled VCAs to control DC signals in your system when not using the module for its intended use, for example.

The Mutant Machine is a dynamic analog instrument capable of generating a wide palette of sounds, ranging from various forms of analog percussion to complex drones and oscillations. To achieve this, the Machine features two synthesis sections which are summed together at the final output: MEMBRANE and SNAPPY. Like the other Mutant Drums, the MEMBRANE and SNAPPY circuits began their mutation as classic analog percussion techniques and have been reimagined for 21st century modular synthesis.

The MEMBRANE forms the main body of the sound by way of two analog VCOs, and the SNAPPY section further adds to the timbre by contributing noisy elements to the mix. A noisy CLICK which occurs at the beginning of the SNAPPY sound can have its volume adjusted independent of the main decaying SNAPPY texture.

The waveforms which make up the MEMBRANE can be selected manually by button press, or the WAVESCANNER can be used to automatically scan through the available analog waveforms. By modulating the frequency through which waves are scanned, unique, complex sounds are created.

Experimentation is encouraged by the many modulation inputs and outputs available to you. The Machine features 8 CV and gate inputs for modulation as well as two external audio inputs, for bringing other modules into the Machine’s core. There are many audio outputs for maximum versatility, allowing you to use the Machine to create drones and alien timbres for use elsewhere in the modular analog system.

From classic electro snares to warping, alien percussion, the Mutant Snare is a radical departure from the static sounds of the 808!
MIX and DRIVE
MIX lets you blend between the SHELL and SNAPPY tones that make up the overall snare drum
turn up the DRIVE to get overdriven snare tones with intense harmonics. The purple LED indicates when the snare begins to overdrive
like the other Mutant Drums, signal levels have been normalized for modular level input and output (up to 20Vpp)
SHELL synthesizes the drum skins
analog bridged-t sinewave oscillators, for those organic-sounding tones we've come to love from the 808
TONE control blends between the two sinewaves of different frequency
SHELL PITCH lets you tune one of the sine waves, to change the pitch of your snare drum

What do you get when you combine voltage controlled distortion and one of the most infamous bassdrums? We took one of the most revered bassdrum synthesis designs of all time and completely redesigned it for use in a modular analogue synthesizer!
Analogue bassdrum circuitry capable of vanilla TR-808 sounds
Built in voltage controlled distortion (batteryACID distortion)
Distortion accepts external inputs when not being used with kick drum (great for acid synth leads)
Voltage control of distortion amount
Voltage control of decay from short kicks to long “ooooooooomphs”
Voltage control of pitch (approximates v/oct response, but not musically tuned)
Non-invasive analogue optocouplers used for voltage control, thus, completely vintage sounds can still be had if that’s what you’re after!
Completely redesigned, hi-fi signal chain spares no expense by replacing cheap transistor amplifiers with low noise opamp equivalents
You can dial in super hot, modular level output levels (up to 20Vp-p!)

Orbitals is a 42HP eurorack analogue step-sequencer that offers a lot of useful features in a very playable and affordable sequencing package.
Of all of the features offered by this design, perhaps the most interesting are bipolar output modes as well as the voltage controlled step select features.

There are two different modes of voltage controlled step addressing: In both modes, the step is selected from a 0-4V control voltage (in 8 step mode, each step is in 0.5V increments. 0.25V increments for 16 steps then, of course):

Mode 1: Voltage Control (clocked)
In this mode, it works somewhat like a sample and hold. That is, the step only updates and generates a new gate/CV based on the input control voltage each time a new clock pulse is received. That is, the voltage control of steps is slaved to the clock source you input. If the voltage stays the same, but it keeps clocking, you'll get the same CV and gate each time the clock input pulses.

Mode 2: Voltage Control (quantised)
This mode differs from mode 1 in that it is not clock-driven. The clock input for the sequencer basically does nothing in this mode, and instead, each time the input CV steps into a new voltage increment, the sequencer will go to the relative step and generate a new CV and gate for that step. In this way, it basically derives a clock from whatever CV source you input. If you are using a ramp wave to generate a linear sequence with CV, and you increase the frequency of the ramp wave LFO, your sequence speed will automatically follow along with it.

The Mutant Hot Glue is a powerful bus mixer for analog effects chain design. The included high quality analog compressor offers series or parallel compression, and a sidechain input, making it well suited for drum processing. The voltage controlled distortion is based on the batteryACID: IDOW Edition design, but improved for better signal fidelity and performance. It can be used in its default position, normalized to the effects send, or like every other part of the module, broken out and used elsewhere in your modular system.

By default, the 4 channel mixer’s output conveniently feeds into the compressor’s input, giving access to easy New York style parallel compression by way of the compressor blend control. The dedicated output and mixer bypass switch for channel A allow you to easily use it as a sidechain source for the compressor. An effects send and return allow you to create complex effects routings within your modular system. With the number of excellent DSP and other effects modules on the market today, this makes it easy to combine modules to great effect, all within the eurorack modular domain.

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